Building a digitalcity is a grandexperiment in whichwirelesscommunicationsmake it easier to findfriends, _____ localevents, and build a warmcommunity. (A) comeback to haunt(B) dwindleaway(C) keepabreast of (D) pull ahead

The Saisiyatpeople—one of Taiwan’s officiallyrecognizedaboriginalgroups—have a uniqueritualceremonycalled Pas-ta’al. Thatceremony is said to havebeencarried out for as many as 400 years. Today, it takesplaceevery two years. And every ten years, it is larger and takes on addedsignificance. The mostrecent ten-yearceremony was held in 2006 at two complementary and overlappingsites in northernTaiwanduring the fullmoon of the 10th lunarmonth. <br> Thousandsgathered for the first day of the ceremony in Wufeng, HsinchuCounty. Touristsfrom all over the islandjoined the localvillagers in the elaborateceremony in an openfield. Men and womenweredancing and singing, armscrossed, hand-in-hand, and moving in and out of a hugecircle. NativeSaisiyatpeople all worebright red and whitetraditionalcostumeswithintricateweaving and beading. Some had ornatedecorations at the back, fromwhichhungmirrors, beads, and bellsthatrang and clanged as the dancersmoved. Touristswerewelcome but wereasked to stayawayfromparticularareaswheresecretritualswereperformed by villageelders. Theywerealsoadvised to tie Japanesesilvergrassaroundtheirarms, cameras, and recorders.【題組】What is Pas-ta’al?

(A)It is an annualritualceremony of the Saisiyatpeople.

(B)It is a Saisiyatweddingceremony in whichpeoplesing and dance.

(C)It is a Saisiyatceremony in whichJapanesesilvergrass is used as sacrifice.

(D)It is a Saisiyatceremonythat has a history as long as fourhundredyears.

Questions 41-50
The stylisticinnovation in painingknown as Impressionismbegan in the 1870’s. The Impressionistswanted to depictwhatthey saw in nature, but theywereinspired to portrayfragmentarymoments by the increasinglyfastpace of modernlife. Theyconcentrated on
the play of lightoverobjects, people, and nature, breaking up seeminglysolidsurfaces,
(5 ) stressingvividcontrastbetweencolors in sunlight and shade, and depictionreflectedlight
in all of its possibilities. Unlikeearlierartists, they did not want to observe the worldfromindoors. Theyabandoned the studio, painting in the open air and recordingspontaneousImpressions of theirsubjectsinstead of makingoutsidesketches and thenmovingindoors
to complete the workformmemory.
(10) Some of the Impressionists’ paintingmethodswereaffected by technologicaladvances. For example, the shiftfrom the studio to the open air was madepossible in
part by the advent of cheaprailtravel, whichpermittedeasy and quickaccess to the
countryside or seashore, as well as by newlydevelopedchemicaldyes and oilsthat led
to collapsiblepainttubes, whichenabledartists to finishtheirpaintings on the spot.
(15) Impressionismacquired its name not fromsupporters but fromangry art lovers who
feltthreatened by the new painting. The term “Impressionism” was born in 1874,when
a group of artists who had beenworkingtogetherorganized an exhibition of theirpaintings in order to drawpublicattention to theirwork. Reactionfrom the public and
press was immediate, and derisive. Among the 165 paintingsexhibited was one called
(20)Impression: Sunrise, by ClaudeMonet(1840-1926),Viewedthroughhostileeyes,
Monet’s painting of a rising sun over a misty, waterysceneseemedmessy, slapdash,
and an affront to goodtaste. BorrowingMonet’s title, art criticsextended the term “Impressionism” to the entireexhibit. In response, Monet and his 29 fellowartists in
the exhibitadopted the samename as a badge of theirunity, despiteindividualdifferences.
(25) Fromthenuntil 1886 Impressionism had all the zeal of a “church”, as the painterRenoir
put it. Monet was faithful to the Impressionistcreeduntil his death, althoughmany of the
othersmoved on to new styles.
【題組】44 Which of the following is a significant way in whichImpressionistsweredifferentfrom the artiststhatprecededthem?
(A) Theybegan by makingsketches of theirsubjects(B) Theypaintedtheirsubjects out-of-doors(C) Theypreferred to paintfrommemory(D) Theyusedsubjectsdrawnfrommodernlife

64. Which of the followingstatementsregardinginheritance is FALSE?
(A) “Ture-breeding” meansvarieties for eachself-fertilizationproducedoffspring all identical to the parent.
(B) The offspring of two differentvarieties are calledhybrids.
(C) A monohybridcross is a breedingexperiment in which the parentalvarietiesdiffer in somecharacters.
(D) The hybridoffspring of an F1 cross are the F2 generation.
(E) The hybridoffspring of a cross are the F1 generation.

The assumptionthatreadingtakesplace in imaginativeisolationfrom the world is deeplyembedded in everydayusage as well as in theoreticaldiscussion. To beginwith, readingfeelslike an intenselypersonal, privatecommitment.For instance, it is commonplace to hear the pleasure of readingassociatedwithvarieties of escapefrom the pressureofhaving to relate to others in socialsituations. Yet, the flipside of this is the complaint one oftenhears, primarilyfromstudents, that17 Thesefeelingsabout the solitariness of reading are so pervasivethat one mightinferthat18Suchstereotypespersist, in part, because we assumethatreadingbegins and ends as a solitaryexperience, that is, one thatpresupposes a singlereaderencountering a singletext.

The perceptionthatreading is an individual act gainsconsiderablestrengthfrom the presence of three “enduringtraditions” in Westernculture, traditionsthatconstitute a formidablebarrier to change. In the firstplace, assumptionsaboutreading are conditioned by assumptionsaboutwriting, and romanticnotionsaboutwriters as mysteriouslyinspiredfromwithincontinue for many to be definitive. A secondtraditiongrows out of the work of professionalliterarycritics. For decades, thiswork has fostered the notionthat19

The impact of theseimages of writers and readers is intensified by a thirdtraditioncontributing to the impressionthatreadingmust be a private, asocialexperience. In capitalistic, patriarchalsocietiessuch as ours, 20 We finditdifficult to imaginereading as a sharedenterpriseunlessthisinvolvesindividualsgathering to “consume”interpretationsprovided by others (via lecture or presentation) or to “exchange” ideaswith one another. This way ofthinkingmakes the “economicmarketplace” an apt (thoughundesirable) metaphor for what has traditionallybeenunderstood by the term “class discussion.”

【題組】 17 (A)readersmust be passive and piousobservers of texts, and so mustveneratethem as artisticobjects. (B)reading is a collaborativeprocess in whichmeaning is sociallyconstructed. (C)reading is boring in so far as it is not connectedwiththeir “realworld” concerns. (D)readinginvolves a transmission of objectiveinformationfrom the mind of the author to the mind of the reader via the text.